The point is to expand the scope of what a movie can possibly mean or be, to get people involved because they're artistic or understand the point of the material, not just because they fit a certain bill aesthetically.
For years after 'The Last Waltz,' I got all kinds of silly movie offers - or, maybe, not silly, but parts that are not my calling... lots of offers to play some wonderful boyfriend.
There's an old saying that you don't ever finish a movie, you abandon it, and I really believe that. I never walk away from a take and pat myself on the back.
Cabin Fever was murder. There was a lot of psychological stress, like not knowing if we were going to finish the movie. The day we arrived to start rehearsals, our main investors pulled out.
To have an opportunity to make a movie like Cabin Fever, you have to get stuff thrown on you or you have to fall into a pit of water. It brings you that much closer to your mindset as a character.
But listen, I'm 29-years-old, I'm really lucky to be there and whatever happens I've been really blessed already. I have plenty of awards for this movie and if this was it for me I'd be really content.
I remember, especially like when I was in high school, going to see like Dawn of the Dead and it was like mayhem in the theater and you could barely even watch the movie. It was so fun.
I'll be honest - I never saw myself making a ninja movie, never entertained the idea. I think ninja films can be quite cheesy unless you do them in feudal Japan.
Real Men can commit to 1 person. Only boys are "Players", pimps usually get lock up or die at the end of movies, & dogs catch fleas!
If a spectator with a philosophical mind, somebody accustomed to reading books, gets the same kind of information in a movie, he might not fully understand it.
All of my problems are rather complicated - I need an entire novel to deal with them, not a short story or a movie. It's like a personal therapy.
'The Whole Nine Yards' I liked right away. It was kind of a dark comedy at first. And just the idea of being in a movie with Bruce Willis was pretty exciting.
Now a movie goes out to two, three thousand theaters and by Friday night at 10 o'clock they know if you are in or out. That desperate competition is, I think, horrendous. It's awful.
Actors, movie stars, rock stars, I can meet them with no worries - but with footballers I go weak at the knees. All of them.
'G.I. Joe' is a $200 million movie. The makeup trailer was as big as my house! It was a whole other different production. It blows me away. I'm just going, 'Wow, I'm in that.'
When my daughter asks, 'What do you do?', every movie I have a different answer. As she grows, she wants more explanations.
I never studied dance, but if you look at 'Wild At Heart,' my mother saw that movie and said, 'You are a dancer. Look at how you're moving: all that strange energy is like modern dance.'
Even my parents are so cute, and they deal with every movie of mine excellently. They check with me ever so casually by asking 'Now how much of nudity are we going to see in this one?'
Nothing could be recorded in those days except by aiming a movie camera at the television screen. It was at least another 10 years before they had any kind of recording medium.
I wanted to make these people real, not like they were in a painting. Like these are people who don't know they're in a period movie. Those concerns are incredibly immediate.
This is the part in the movie where that guy says, "Zombies? What zombies?" just before they eat his brains. I don't want to be that guy.
